i 


THIS  BROCHURE  IS  PUBLISHED 
AS  AN  ADVERTISING  MEDIUM  OF 
OUR  ECCLESIASTICAL  DEPART- 
MENT; TO  CONVEY  IN  TEXT  AND 
ILLUSTRATIONS  SOME  IDEA  OF 
THE  SCOPE  OF  ITS  WORK  IN  IN- 
DOOR AND  OUTDOOR  MEMORI- 
ALS  OF  BOTH  GLASS  AND  STONE. 


Copyright.  1913,  by  Tiffany  Studios 
1922,  " 


TIFFANY  FAVRILE  GLASS 
TIFFANY  WINDOWS 
TIFFANY  MOSAICS 
TIFFANY  MONVMENTS 
TIFFANY  GRANITE 


TIFFANY  FAVRILE  GLASS 


STAINED  GLASS  WINEX)WS  CAME  INTO  USE 
AS  MEMORIALS  WITH  THE  BUILDING  OF 
THE  GREAT  CATHEDRALS  IN  EUROPE.  THE 
HISTORY  OF  MEMORIAL  WINDOWS,  WHICH  IS 
LIKEWISE  THE  HISTORY  OF  THEIR  MATERIAL 
AND  MAKING.  IS  ONE  OF  EVOLUTION  UP  TO 
THE  THIRTEENTH  CENTURY.  COMMERCIALISM 
THEN  BEGAN  TO  FLOURISH  TO  SUCH  AN  EX- 
TENT THAT  THE  ART  OF  MAKING  COLORED 
GLASS  SUFFERED  DISASTROUSLY.  THE  PERIOD 
OF  DECADENCE  WHICH  ENSUED  CONTINUED 
UNTIL  THE  LATTER  PART  OF  THE  NINETEENTH 
CENTURY. 

IT  WAS  RESERVED  FOR  AN  AMERICAN  ARTIST 
TO  START  A  TRANSFORMATION.  MR.  LOUIS  C. 
TIFFANY  HAD  MADE  HIS  FIRST  FIGURE  WINDOW 
IN  1877.  SCIENTIST  AS  WELL  AS  ARTIST,  MR.  TIF- 
FANY WAS  AVERSE  TO  USING  ANY  PAINTS  OR 
STAINS  WHATEVER,  EVEN  FOR  THE  FLESH  TINTS, 
THOUGH  VITREOUS  COLORS  WERE  EMPLOYED 
AND  FIRED  AND  FUSED  INTO  THE  GLASS.  HE 
REBELLED  AGAINST  THE  RESTRICTIONS  PLACED 
UPON  HIM  BY  THE  LIMITATIONS  OF  THE  GLASS 
THEN  PROCURABLE  AND  RESOLVED  TO  FIND 
SOMETHING  BETTER.  THEN  BEGAN  THE  EXPERI- 
MENTS WHICH  WERE  CONTINUED  PERSISTENTLY 


FOR  YFARS  UNTIL  HE  DISCOVERED  A  MEANS  OF 
PRODUCING  WITH  QUASI-UNIFORM  RESULTS  A 
MATERIAL  FRAUGHT  WITH  COLORS,  SURFACES 
AND  TEXTURES  IN  INFINITE  VARIETY  AND  VARY- 
ING DEGREES  OF  TRANSPARENCY.  IT  WAS  NOT 
ONLY  OPALESCENT,DERIVING  ITS  PLAY  OF  COLOR 
LARGELY  BY  TRANSMITTED  LIGHT,  BUT  IT  WAS 
ALSO  IRIDESCENT  WITH  A  PERMANENT,  METAL- 
LIC LUSTRE,  EMITTING  RAINBOW  EFFECTS  BY 
LIGHT  REFLECTED  FROM  THE  SURFACES.  THE 
DISCOVERY  WAS  EPOCH-MAKING.  IT  MARKED  A 
TRANSITION  FROM  COMMERCIALISM  TO  ART,  RE- 
SULTING FROM  THE  SCIENTIFIC  EXPERIMENTS 
OF  AN  ARTIST. 

MR.  TIFFANY  ELECTED  TO  CALL  HIS  DISCOVERY 
TIFFANY  FAVRILE  GLASS.  FAVRILE  IS  A  MODIFI- 
CATION OF  THE  OLD  ENGLISH  WORD  FABRILE. 
MEANING  HAND-MADE.  PLANS  FOR  THE  MANU- 
FACTURE OF  THIS  GLASS  WERE  PERFECTED,  BUT 
NOT  WITH  A  VIEW  TO  MATHEMATICAL  ACCURACY 
AS  IN  THE  AVERAGE  COMMERCIAL  FACTORY.  THE 
PURPOSE  IS  RATHER  TO  SEEK  CHANCE  OR  ACCI- 
DENTAL EFFECTS  WHICH  CAN  NOT  BE  DIVORCED 
FROM  FIRE  PRODUCTS,  AND  WHICH  SO  ENRICH 
THE  FIELD  OF  THE  ARTIST.  THOUGH  ESSENTIALLY 
A  SCIENTIFIC  PRODUCT,  THEREFORE,  TIFFANY 
FAVRILE  GLASS  VARIES  SUFFICIENTLY  IN  THE 
PROCESS  OF  MAKING  TO  PRODUCE  CONSTANTLY 


INCREASING  COLOR  BLENDINGS  WHICH  GIVE 
THE  DESIGNER  A  RANGE  THAT  IS  BOUNDLESS. 
IN  A  RECENT  DISSERTATION  ON  THE  WORK  OF 
MR.  LOUIS  C.  TIFFANY  A  MAGAZINE  WRITER  SAID : 
••FAVRILE  GLASS  IS  AN  EMANCIPATION,  PICTa 
RIALLY  AND  DECORATIVELY— PICTORIALLY  BE- 
CAUSE OF  THE  LIMITLESS  POSSIBILITY  OF  ATMOS- 
PHERIC EFFECTS,  AND  DECORATIVELY  BECAUSE 
OF  THE  INTRINSIC  BEAUTY  OF  THE  MATERIAL 
AND  THE  EXTENT  TO  WHICH  ITS  MOSAIC  TREAT- 
MENT IS  CARRIED." 

TIFFANY  FAVRILE  GLASS  IS  PRODUCED  AT  THE 
TIFFANY  FURNACES  FOR  THE  EXCLUSIVE  USE  OF 
THE  TIFFANY  STUDIOS. 


The  Landscape  Window,  illustrated  on  the  opposite 
page,  was  designed  for  Mr.  Andrew  Carnegie  for 
execution  in  Tiffany  Favrile  Glass  and  installation 
in  Dunfermline  Abbey,  Dunfermline,  Scotland.  On 
the  wall  of  the  Abbey  below  the  window  is  to  be  placed 
a  Tiffany  Favrile  Glass  Mosaic  Panel  with  die  fol- 
lowing inscription: 

In  loving  memory  of 
Father,  Mother,  Sister  and  Brother 
born  in  Dunfermline 
Erected  by  the  sole  survivor 
Aruirew  Carnegie 
and  his  wife 
19/J 


A   LANDSCAPE  WINDOW  FOR  DUNFERMLINE  ABBEV,  SCOTLAND 


INDOOR  MEMORIALS 


The  sketch  design  illustrated  on  the  opposite  page, 
made  for  a  memorial  to  Roman  Catholic  martyrs, 
is  an  example  of  the  effect  of  an  English  painted 
window  rendered  in  Tiffany  Favrile  Glass. 


SKETCH  FOR  A  MEMORIAL  TO   ENGLISH  MARTYRS 


TIFFANY  WINDOWS 


PALESCENT,    IRIDESCENT,  IMPERISHABLE 


AND  REQUIRING  NO  PAINT,  TIFFANY  FAV- 


^  RILE  GLASS  IS  THE  BASIS  OF  ALL  TIFFANY 
WINDOWS.  THIS  EXCLUSIVE  BASIC  MATERIAL 
SURPASSES  THE  BEST  OF  THE  MEDIy^:VAL  GLASS 
WORKERS,  WHOSE  ART  REACHED  ITS  ZENITH  IN 
THE  THIRTEENTH  CENTURY.  THE  GLASS  ALONE 
WOULD  MAKE  THESE  WINDOWS  DISTINCTIVE. 
BUT  IN  DESIGN  TIFFANY  WINDOWS  POSSESS 
INDIVIDUALITY.  THERE  IS  NO  RADICAL  DEPART- 
URE FROM  WHAT  MAY  BE  CALLED  THE  CONVEN- 
TIONAL, AND  THERE  IS  NO  ATTEMPT  TO  COPY 
ANYTHING  BUT  THE  SPIRIT  OF  THE  BEST  WORK 
OF  THE  MIDDLE  AGES;  NEVERTHELESS,  TIFFANY 
WINDOWS  ARE  WONT  TO  BE  CONSIDERED  AS 
EASILY  DISTINGUISHABLE  FROM  OTHER  WIN- 
DOWS, AS  THE  WORK  OF  THE  RENOWNED  COROT 
IS  DIFFERENTIATED  FROM  THAT  OF  HIS  WOULD- 
BE  IMITATORS. 

IN  THE  DESIGNING  AND  MAKING  OF  TIFFANY 
WINDOWS  THE  MOSAIC  THEORY  IS  PARAMOUNT; 
NO  PAINT,  NO  STAINS,  NO  ENAMELS.  THE  WEALTH 
OF  COLOR  GRADATIONS  IN  THE  GLASS  GIVES 
THE  ARTIST-ARTISAN  THE  POWER  TO  INTERPRET 
THE  CARTOON.  NO  PART  OF  THE  DEVELOPMENT 
OF  A  TIFFANY  WINDOW  CAN  BE  DONE  MECHANI- 


CALLY.  THE  DESIGN  IS  INTERPRETED  IN  THE 
SPIRIT  OF  ART.  EVEN  THE  LEADING  IS  MADE  TO 
ASSIST  THE  DESIGN  WHICH  WAS  FORMERLY  EF- 
FECTED BY  PAINT. 

THERE  IS  A  SINCERITY  IN  ALL  THIS  WHICH 
MAKES  FORREAL  ART,  AND  PERHAPS  ITACCOUNTS 
FOR  THE  GENERAL  RECOGNITION  OF  THE  TIF- 
FANY STUDIOS  AS  THE  GREATEST  EXPONENT  OF 
PROGRESSIVE  AMERICAN  ART.  IT  MAY  ALSO  AC- 
COUNT FOR  THE  GIVING  OF  CREDIT  TO  MR.  LOUIS 
C.  TIFFANY  PERSONALLY  FOR  A  VALUABLE  FORM 
OF  NEO-CLASSICISM  RESULTING  FROM  A  FUSION 
OF  THE  BEST  MODERN  SPIRIT  WITH  AN  ASSIMI- 
LATED SPIRIT  OF  THE  BEST  MEDIi^VAL  CREA- 
TIONS IN  COLORED  GLASS. 

IF  AN  ARCHITECT  SPECIALIZING  IN  ECCLE- 
SIASTICAL DESIGNS  WERE  ASKED  TO  BUILD  A 
REPLICA  OF  SOME  CATHEDRAL  ERECTED  IN  THE 
MIDDLE  AGES,  HE  WOULD  NOT  CONSIDER  IT  A 
DRAFT  UPON  HIS  DESIGNING  POWER  BUT  UPON 
HIS  ACCURACY  IN  COPYING.  IF  HE  SHOULD 
ACCEPT  THE  COMMISSION,  HE  WOULD  STRIVE 
TO  DUPLICATE  EVERY  ARCHITECTURAL  FEA- 
TURE IN  THE  DESIGN  OF  THE  OLD  BUILDING,  IN- 
CLUDING  THE  EFFECTS  OF  THE  STIFF  PAINTED 
OR  ANTIQUE  GLASS  WINDOWS,  BUT  WOULD  IN- 
SIST UPON  THE  PRIVILEGE  OF  USING  MORE 


The  medallion  window  shown  on  the  opposite  page 
is  of  Tiffany  Favrile  Glass  and  was  erected  in  the 
First  Presbyterian  Church,  Dayton,  Ohio,  as  the 
Stoddard  Memorial. 


DESIGN  COPYRIGMTED  BY  TIFFANY  STUDIOS 


A  TIFFANY  MEDALLION  WINDOW 


A  TIFFANY  FIGURE  WINDOW 


ATTRACTIVE  AND  MORE  ENDURING  CONSTRUC- 
TION MATERIALS  FOR  ALL  ITS  PARTS,  FOR  HE 
WOULD  SEE  NO  LOGICAL  REASON  FOR  TRANSLA- 
TING IN  MINUTE  DETAIL  THE  MATERIAL  ELE- 
MENTS OF  SUCH  A  STRUCTURE.  WITH  SCOPE  AS 
TO  THE  USE  OF  MODERN  MATERIALS  AND 
METHODS  OF  CONSTRUCTION  HE  WOULD  INCOR- 
PORATE IN  THE  REPLICA  NOT  ONLY  THE  SPIRIT 
OF  THE  STYLE  OF  THE  MEDIEVAL  TEMPLE  BUT 
THROUGHOUT  WOULD  HAVE  IT  SUGGEST  THE 
FEELING  AND  THE  ATMOSPHERE  OF  THE  ORIGI- 
NAL INSPIRATION.  THE  WINDOWS,  WHICH  ARE 
PROMINENT  CHARACTERISTICS  OF  ALL  CATHE- 
DRALS,  IF  MADE  OF  TIFFANY  FAVRILE  GLASS, 
COULD  BE  DESIGNED  IN  COMPLETE  HARMONY 
WITH  THE  SPIRIT  OF  THE  ORIGINALS,  BUT  THE 
GLASS  WOULD  REQUIRE  NO  SUCH  EVANESCENT 
PROPERTY  AS  PAINT  TO  PRODUCE  EVEN  RICHER 
EFFECTS  THAN  THE  MOST  SKILLED  WORKERS 
OF  THE  THIRTEENTH  CENTURY  WERE  ABLE  TO 
CREATE.  THE  FAVRILE  GLASS  IS  SO  RICH  IN 
COLOR  COMBINATIONS  IT  LENDS  ITSELF  TO  THE 
MOST  COMPREHENSIVE  DESIGNS  INVOLVING 
FIGURES  AND  LANDSCAPES. 

MANY  DESIGNERS  OF  ECCLESIASTICAL  ARCHI- 
TECTURE  IN  AMERICA,  WHO  HAVE  MADE  A  CARE- 
FUL COMPARATIVE  STUDY  OF  THE  PROPERTIES 
OF  COLORED  GLASS  WITH  ESPECIAL  REFERENCE 


The  window  illustrated  on  the  opposite  page  is 
entitled  ''The  Valiant  Woman.''  It  was  designed 
by  Louis  C.  Tiffany,  executed  in  Tiffany  Favrile 
Glass  and  placed  in  the  Church  of  the  Messiah, 
Brooklyn,  N.  Y.,  where  it  is  known  as  the 
Stillman  Memorial, 


TO  TIFFANY  FAVRILE  GLASS,  HAVE  PRONOUNCED 
AS  FADDISTS  THOSE  ARCHITECTS  WHO  RESORT 
TO  IMPORTED  PAINTED  GLASS  FOR  CHURCH 
MEMORIAL  OR  DECORATIVE  WINDOWS. 


The  Landscape  Window,  reproduced  on  the  opposite 
page,  was  executed  in  Tiffany  Favrile  Glass  and 
placed  for  Mrs,  Russell  Sage  in  the  Russell  Sage 
Memorial  Church  Building  of  the  First  Presbyterian 
Church,  Far  Rockaway,  N.  Y. 


THE  RUSSELL  SAGE  MEMORIAL  WINDOW 


KING    SOLOMON  WINDOW 


The  King  Solomon  Window,  illustrated  on  the  oppo- 
site page,  was  executed  in  Tiffany  Favrile  Glass  for 
Kane  Lodge  No.  4^4  and  placed  in  the  Masonic 
Chapel  at  Utica,  N.  Y. 


The  Figure  Window,  "'Gutenberg  taking  the  first 
impression  from  a  movable  type  press,"  illustrated 
on  the  opposite  page,  was  designed  as  a  memorial  to 
the  Hon.  Charles  H.  Tyler,  executed  in  Tiffany 
Favrile  Glass  and  placed  in  the  Public  Library  at 
Winchester,  Mass. 


SUGGESTION   FOR  A  MEMORIAL  TABLET 


TIFFANY  DOMESTIC  WINDOWS 


'HERE  IS  A  CONSTANTLY  INCREASING  DE- 


MAND FOR  COLORED  GLASS  WINDOWS  FOR 


BOTH  CITY  AND  COUNTRY  RESIDENCES, 
BUT  OF  AN  ENTIRELY  DIFFERENT  CHARACTER 
FROM  THE  SO-CALLED  "STAINED  GLASS"  WIN- 
DOWS, WHICH  HAVE  BEEN  IN  VOGUE. 

ARCHITECTS  AND  OTHER  CONNOISSEURS  OF  ART 
HAVE  COME  TO  THE  REALIZATION  THAT  IT  IS 
QUITE  AS  POSSIBLE  TO  PRODUCE  A  MASTERPIECE 
IN  GLASS  AS  IT  IS  UPON  CANVAS,  WHEN  THE 
COMMISSION  IS  PLACED  IN  THE  HANDS  OF  A 
COMPETENT  ARTIST,  WHO  THOROUGHLY  UNDER- 
STANDS NOT  ONLY  THE  USE  OF  MATERIALS  BUT 
ALSO  THEIR  LIMITATIONS. 

TIFFANY  FAVRILE  GLASS  WINDOWS  MAY  BE 
FOUND  IN  THE  HOMES  OF  MANY  OF  THE  BEST 
KNOWN  ART  COLLECTORS  IN  THIS  COUNTRY, 
AND  ARE  DESIGNED  AND  MADE  UNDER  THE  PER- 
SONAL SUPERVISION  OF  MR.  LOUIS  C.  TIFFANY, 
THE  ART  DIRECTOR  OF  THESE  STUDIOS. 


The  sketch  reproduced  on  the  opposite  page  is  a 
suggestion  for  a  Tiffany  Favrile  Glass  Mosaic 
memorial  tablet,  framed  in  selected  carved  marble, 
or  bronze. 


The  Landscape  Windciu,  reproduced  on  the  opposite 
page,  was  executed  in  Tiffany  Favrile  Glass  and  in* 
stalled  in  the  residence  of  Mr.  R.  B.  Mellon,  Pitts- 
burgh, Pa 


DOMEISTIC 


PANEL 


WINDOWS 


The  two  Domestic  Panel  Windows,  illustrated  on  the 
opposite  page,  were  executed  in  Tiffany  Favrile 
Glass  for  the  town  house  of  Capt.  J.  R.  De  Lamar ^ 
New  York  City. 


TIFFANY  MOSAICS 


GLASS  MOSAIC  WAS  FIRST  USED  FOR  FLOORS. 
AS  A  MEDIUM  FOR  MURAL  SURFACE  DECO- 
RATION IT  HAD  ITS  GROWTH  AND  DECAY 
FROM  THE  TIME  OF  CONSTANTINE  TO  THE  EARLY 
PART  OF  THE  FOURTEENTH  CENTURY,  A.  D.  IT 
WAS  REVIVED  AT  VENICE  IN  1838  AND  HAS  SINCE 
CONTINUED  TO  REGAIN  ITS  FORMER  POSITION 
IN  THE  ART  OF  EUROPE.  AS  FAR  BACK  AS  1879 
MR.  TIFFANY  EMPLOYED  IT  IN  THE  DECORATION 
OF  THE  UNION  LEAGUE  CLUB  OF  NEW  YORK.  MR. 
TIFFANY  HAS  BEEN  AN  ARDENT  ADVOCATE  OF 
ITS  USE,  ON  ACCOUNT  OF  ITS  COLOR-DECORATIVE 
POSSIBILITIES,  ITS  EFFECTUAL  RESISTANCE  OF 
THE  CORROSION  OF  NATURAL  AND  ARTIFICIAL 
DECAY,  AND  ITS  RETENTION  OF  ITS  PRISTINE 
BEAUTY,  IT  BEING  "NON-ABSORBENT,  FIREPROOF 
AND  PRACTICALLY  INDESTRUCTIBLE,  EXCEPT 
BY  DIRECT  VIOLENCE." 

SINCE  ITS  DISCOVERY,  TIFFANY  FAVRILE  GLASS 
HAS  BEEN  THE  BEAUTIFYING  MATERIAL  OF  ALL 
TIFFANY  MOSAICS,  FOR  ITS  MULTIFARIOUS  COL- 
ORS RENDER  EASY  THE  WORK  OF  THE  SKILLED 
MOSAICIST,  WHO  SELECTS  AND  PLACES  THE 
TESSERA  AND  SECTILI^  IN  THE  INTERPRETA- 
TION OF  DESIGNS,  WHATEVER  THEIR  COMPLEX- 
ITY OF  FORMS  OR  COLOR  COMBINATIONS. 


The  illustration  opposite  is  a  reproduction  of  a 
Tiffany  Favrile  Glass  Mosaic  Panel  recently  placed 
in  the  chancel  of  the  Unitarian  Church  at  New  Bed- 
ford, Mass. 


AS  PERIVIANENT  ARCHITECTURAL  SURFACE  DEC- 
ORATION FOR  MONUMENTAL  PUBLIC  BUILDINGS 
AND  ECCLESIASTICAL  EDIFICES,  TIFFANY  FAV- 
RILE  GLASS  MOSAICS  ARE  IN  GREAT  FAVOR. 
THEY  ARE  EQUALLY  ADAPTABLE  IN  CONJUNC- 
TION WITH  THE  NUMEROUS  MARBLES  AND 
OTHER  LASTING  MATERIALS  FOR  THE  MAKING 
OF  FONTS,  ALTARS,  REREDOS  AND  PULPITS  OF 
CHURCHES,  FOR  MEMORIAL  TABLETS,  FOR  THE 
MURAL  DECORATIONS  OF  BANKS,  CLUBS  AND 
HOMES,  AND  FOR  BOTH  THE  EXTERIOR  AND 
INTERIOR  ORNAMENTATION  OF  MORTUARY 
CHAPELS  AND  MAUSOLEUMS. 


The  Altar,  reproduced  on  the  opposite  page,  was 
executed  in  Sienna  Marble  and  Tiffany  Favrile 
Glass  Mosaics  and  placed  in  St.  Michaels  Protes- 
tant Episcopal  Church,  New  York  City. 


A  TIFFANV  PULPIT 


Illustrated  on  the  opposite  page  is  a  Tiffany 
Favrile^  Glass  Mosaic  Reredos,  erected  in  the 
Angels'  Chapel  of  St.  Michaels  and  All  Angels 
Church,  New  York  City. 


The  chancel  window  reproduced  on  the  opposite 
page  and  entitled  Adoration  of  the  Magi,''  was 
designed  by  Louis  C.  Tiffany,  made  of  Tiffany 
Favrile  Glass,  set  in  splays  of  Tiffany  Favrile  Glass 
Mosaic,  and  erected  in  Christ  Church,  Brooklyn, 
N.  y.,  as  a  part  of  the  Orr  Memorial. 


DESIGN  COPYRIGHTED  BY  TIFFANY  STUDIOS 


A  TIFFANY  CHANCEL  WINDOW 


MARBLE  AND    FAVRILE    GLASS    MOSAIC  BAPTISMAL 


rONT 


The  Baptismal  Font  reproduced  on  the  opposite 
page,  made  of  Sienna  Marble  and  Tiffany  Favrile 
Glass  Mosaics,  was  executed  for  the  Madison  Ave- 
nue  Reformed  Church,  Albany,  N.  Y. 


The  Wall  Fountain  illustrated  on  the  opposite 
page  was  designed  by  Louis  C.  Tiffany  and  con- 
structed of  Tiffany  Favrile  Glass  Mosaic.  It  is 
now  on  exhibition. 


A  TIFFANY  WALL  FOUNTAIN 


"  TE  DEUM" 

(from  working  drawings) 


The  illustrations  on  the  opposite  page  represent 
a  group  of  three  mosaics  now  being  constructed 
in  the  First  Methodist  Church,  Los  Angeles, 
California. 


OUTDOOR  MEMORIALS 


The  illustration  on  the  opposite  page  shows  a 
section  of  the  Model  Room  of  Tiffany  Outdoor 
Memorials. 


The  illustration  shown  on  the  opposite  page  is 
from  a  reproduction  of  a  model  for  a  World  War 
Memorial. 


'^ANGEL  OF  VICTORY" 


A   REPRODUCTION  OF  SAINT   CO  L  U  M  B  K  I  LL  E'S  CROSS 


The  illustration  on  the  opposite  page  is  from  a 
reproduction  of  St.  Columbkille' s  Cross,  Kells,  Ire- 
land, erected  in  Woodlawn  Cemetery,  New  York 
City,  1012. 


TIFFANY  MONUMENTS* 


GOD'S  ACREt 
"THIS  IS  THE  FIELD  AND  ACRE  OF  OUR  GOD. 
THIS  IS  THE  PLACE  WHERE  HUMAN  HARVESTS  CROW.  " 

THE  CUSTOM  OF  ERECTING  MEMORIALS  TO  THE 
DEAD  IS  AS  OLD  AS  LOVE  AND  SORROW.  THE 
SADDEST  THING  IN  THE  WORLD  IS  AN  UNMARKED 
GRAVE,  WHICH  SEEMS  TO  SAY,  "TIME  HATH  A  WALLET 
AT  HIS  BACK  WHEREIN  HE  PUTS  ALMS  FOR  OBLIVION." 
THE  HEART  THAT  EVER  TRULY  LOVED  CANNOT  FORGET. 
AND  OF  ALL  TRIBUTES  PAID  BY  MEMORY  TO  AFFECTION 
THERE  IS  NONE  MORE  NATURAL  OR  TIME-HONORED 
THAN  THE  FIT  ADORNMENT  OF  THE  RESTING  PLACES  OF 
OUR  BELOVED.  THIS  IS  THE  LEAST  THAT  SORROWING 
HEARTS  CAN  DO. 

THE  OLDEST  FORM  OF  MORTUARY  MEMORIAL  IS  THE 
EARTHEN  MOUND,  AS  IN  THEBES  AND  MEMPHIS.  IT 
DEVELOPS  INTO  VARIOUS  FORMS,  SUCH  AS  DOLMEN  AND 
CROMLECH,  UNTIL  IT  REACHES  ITS  CONSUMMATION  IN 
THE  PYRAMIDS,  THOSE  "DATELESS  TOMBS,  WHERE  PHA- 
RAOHS FIND  THEIR  LONG  REPOSE." 

THE  HEADSTONE  IS,  PERHAPS,  THE  MOST  UNIVERSAL  OF 
MONUMENTS.  IT  IS  ASSOCIATED  MOST  INTIMATELY  WITH 
GREECE;  AND  APPROPRIATELY  SO,  SINCE,  DESPITE  ITS 


*THE  WORD  "monuments"  IN  THIS  CHAPTER  IS  USED  IN  A  BROAD  SENSE 
TO  DESIGNATE  ALL  FORMS  OF  CEMETERY  MEMORIALS. 

tTHIS  BRIEF  ESSAY  ON  "gOD's  ACRE"  IS  REPRINTED  HERE  BECAUSE  OF 
ITS  INTRINSIC  LITERARY  CHARM  AND  BECAUSE  THE  TIFFANY  STUDIOS  CAN 
CLAIM  JUSTLY  THE  MAJOR  PORTION  OF  THE  PRAISE  EXPRESSED  FOR  THE 
ARTISTIC  IMPROVEMENT  OF  AMERICAN  CEMETERIES. 


MODEST  SIMPLICITY.  IT  IS  CAPABLE  OF  INDEFINITE 
VARIETY  OF  FORM  AND  AIDORNMENT.  IT  MAY  BE  A 
MERE  PLACARD  OR  DOORPLATE  OF  THE  SEPULCHRE;  OR 
A  QUAINT  SYMBOL  OF  A  QUAINT  THEOLOGY,  LIKE  THE 
SCALLOPED  GRAVESTONES  OF  THE  PURITANS  WITH  THEIR 
OPEN-EYED,  WIDE-WINGED  CHERUBIM;  OR  A  BRAVE, 
BROADLY-FOUNDED  AND  BEAUTIFULLY  ELOQUENT  TRIB- 
UTE TO  THE  ETERNAL  VERITIES.  THIS  WAS  IN  THE  MIND 
OF  EDMUND  BURKE,  PERHAPS,  WHEN  HE  WROTE,  "I 
WOULD  RATHER  SLEEP  IN  THE  SOUTHERN  CORNER  OF 
A  LITTLE  COUNTRY  CHURCHYARD  THAN  IN  THE  TOMBS 
OF  THE  CAPULETS." 

THE  SEPULCHRAL  SLAB  IS  LITTLE  CALLED  FOR  IN  THESE 
DAYS.  THIS  IS  TO  BE  REGRETTED,  INASMUCH  AS  ITS 
POSSIBILITIES  OF  BEAUTY  ARE  VERY  GREAT.  OUR  FORE- 
FATHERS USED  IT.  PARTICULARLY  WITH  RECUMBENT 
FIGURES,  OR  WHERE  LONG  INSCRIPTIONS  WERE  DESIRED. 
IN  ANCIENT  GRAVEYARDS  IT  COMPELS  ATTENTION  BY 
ITS  SINGULAR  APPROPRIATENESS,  SEEMING  TO  SAY:  "BE- 
HOLD THE  NARROW  BED,  WHEREIN  I  LAY  ME  DOWN  TO 
PLEASANT  DREAMS,  AWAITING  THE  RESURRECTION  AND 
THE  ENDLESS  DAYi** 

THE  SHAFT,  OR  MONOLITH,  IS  PECULIARLY  SUGGESTIVE, 
POINTING,  LIKE  AN  INDEX  FINGER,  TO  THE  LIFE  BEYOND. 
IT  IS  RECORDED  THAT  WHEN  THE  BELOVED  RACHEL 
DIED,  ON  THE  JOURNEY  TO  EPHRATH,  HER  HUSBAND, 
JACOB,  "SET  A  PILLAR  UPON  HER  GRAVE,  WHICH  IS 
RACHEL'S  PILLAR  UNTO  THIS  DAY."  (ONE  ADVANTAGE 
OFTHIS  KIND  OF  MEMORIAL  IS  ITS  ASSURED  DURABILITY.) 
THE  OBELISKS  OF  EGYPT  HAVE  FOR  CENTURIES  SURVIVED 
THE  NAMES  OF  THOSE  WHOSE  GLORIOUS  DEEDS  WERE 
INSCRIBED  UPON  THEM. 


The  sketch  reproduced  on  the  opposite  page  is  a 
Tiffany  suggestion  for  a  memorial  of  heroic  size. 


FAR  MORE  MASSIVE  AND  ELABORATE  IS  TIIE  MAUSO- 
LEUM, A  NAME  DERIVED  FROM  THE  MAGNIFICEN  T  TOMB 
ERECTED  BY  ARTEMISIA  TO  TOE  MEMORY  OF  HER  MUS- 
BAND,  MAUSOLUS,  KING  OF  CARIA.  IN  THE  BUILDING 
OF  THIS  HISTORIC  STRUCTURE,  WHICH  WAS  RECKONED 
ONE  OF  THE  SEVEN  WONDERS  OF  THE  WORLD,  THI-  FOUR 
MOST  FAMOUS  SCULPTORS  OF  THEIR  TIME,  SCOP  AS, 
BRYAXIS,  TIMOTHEUS  AND  LESCHARES,  COMBINED  'H  lEIR 
SKILL.  IN  1867  A  PORTION  OF  ITS  RUINS  WAS  UNEARTHED, 
SUFFICIENT  TO  SHOW  THAT  IT  WAS  ABOVE  FIFTY  FEET 
IN  HEIGHT  AND  CONSISTED  OF  FIVE  PARTS:  PODIUM  OR 
FOUNDATION,  PTERON  OR  CIRCLE  OF  COLUMNS,  PYRA. 
MID,  PEDESTAL,  AND  CHARIOT-GROUP,  REPRESENTING 
THE  KING  DRIVEN  BY  AN  ATTENDANT  GOD.  TO  PERSONS 
OF  CONSIDERABLE  WEALTH  THIS  FORM  OF  MEMORIAL 
IS  COMMENDED,  AS  AFFORDING  A  LARGE  FIELD  FOR 
THE  DISPLAY  OF  GENIUS,  ORIGINALITY  AND  ARTISTIC 
SKILL,  AS  WELL  AS  GIVING  EXPRESSION  TO  A  REGARD 
FOR  THE  DEAD  ADEQUATE  IN  SOME  MEASURE  TO  THE 
UNSPARING  DEVOTION  PAID  TO  THEM  IN  THEIR  EARTHLY 
HOMES. 

IT  REMAINS  TO  SPEAK  OF  THE  CENOTAPH,  LITERALLY 
•*AN  EMPTY  TOMB."  IT  IS  USUALLY  ERECTED  IN  MEMORY 
OF  THOSE  DYING  IN  BATTLE  OR  DROWNED  AT  SEA.  THE 
PATRIOTIC  SOCIETIES  OF  AMERICA  FIND  FREQUENT 
OCCASION  TO  MEMORIALIZE  THUS  THE  HEROIC  DEEDS 
OF  THOSE  WHO  HAVE  GIVEN  THEIR  LIVES  IN  DEFENSE 
OF  NATIONAL  LIFE  AND  FREEDOM.  THE  UNHAPPY  CIR- 
CUMSTANCE, THAT  OFTENTIMES  THEIR  BODIES  LIE  IN 
UNKNOWN  GRAVES  OR  HAVE  BEEN  SCATTERED  ON  THE 
WINDS  AND  WATERS,  SHOULD  NOT  PREVENT  THE  PAYING 
OF  A  JUST  TRIBUTE  TO  THEIR  ILLUSTRIOUS  DEEDS.  IT 
IS  ONE  OF  THE  PROPITIOUS  SIGNS  OF  OUR  PATRIOTIC 


LIFE  TO-DAY  THAT  MONUMENTS  OF  THIS  CHARACTER 
ARE  BEING  ERECTED  IN  PARKS  AND  NATIONAL  CEME- 
TERIES, ON  BATTLEFIELDS,  AND  OTHER  HISTORIC  SITES. 
THE  CENOTAPH  MAY  BE  OF  ALMOST  ANY  CONVENTIONAL 
FORM,  FROM  THE  SIMPLE  TABLET  TO  THE  MAUSOLEUM, 
ITS  ESSENTIAL  FEATURE  BEING  A  JUST  COMMEMORATION 
^  OF  HEROIC  VIRTUES  AND  ACHIEVEMENTS. 

THE  APPROPRIATENESS  OF  ANY  SUCH  MEMORIAL  IS,  IN 
LARGE  MEASURE,  DETERMINED  BY  THE  EPITAPH  OR 
INSCRIPTION  UPON  IT.  THE  ROMANS  MADE  SLIGHT  REF- 
ERENCE TO  THE  DOMESTIC  OR  SOCIAL  BENEVOLENCES 
OF  THEIR  DEAD,  BUT  FULLY  ENUMERATED  THEIR  PUBLIC 
SERVICES.  THE  SAXONS  WERE  FOND  OF  HERALDIC  DE- 
VICES. THE  GRAVES  OF  THE  CRUSADERS  ARE  MARKED 
BY  THE  TRANSVERSE  CROSS  AND  WEAPON: 

VTHEIR  SWORDS  ARE  R  UST. 
THEIR  GOOD  STEEDS  DUST, 

THEIR  SOULS  ARE  WITH  THEIR  GOD,  WE  TRUST" 

FULSOME  EULOGIES  ARE  TRANSPARENTLY  ABSURD.  THE 
MONUMENT  OF  THE  BRAVE  THREE  HUNDRED  OF  THER< 
MOPYL/E  BORE  THIS  SIMPLE  LEGEND:  "GO,  TRAVELLER, 
TELL  AT  LACED^MON  THAT  WE  DIED  IN  OBEDIENCE 
TO  HER  SACRED  LAWS."  AN  EPITAPH  SHOULD  ALWAYS  BE 
BRIEF  AND  WELL-WORDED  IN  THE  LANGUAGE  OF  THE 
HEART.  "HERE  LIES  RARE  BEN  JOHNSON,"  OR  "HERE 
DIED  WOLFE,  VICTORIOUS,"  IS  ENOUGH  TO  TELL  THE 
STORY.  GOD'S  ACRE  IS  NO  PLACE  FOR  FLATTERY,  NOR 
CAN  SONOROUS  ADULATION  COVER  THE  UNIVERSAL 
FACTS  OF  LIFE. 

"PRAISES  ON  TOMBS  ARE  TRIFLES  VAINLY  SPENT: 
A  GOOD  MAN'S  NAME  IS  HIS  BEST  MONUMENT." 

THE  WORD"WASHINGTON"ON  A  TOMB  AT  MOUNT  VERNON 


IS  BETTER  THAN  LONG  PERIODS  OF  LATIN  PANEGYRIC. 
NOTHING  COULD  SURPASS  THE  ELOQUENCE  OF  THIS  IN- 
SCRIPTION ON  THE  NATIONAL  MONUMENT  AT  SPRING- 
FIELD: 

"WITH  MALICE  TOWARD  NONE, 

LINCOLN 

WITH  CHARITY  FOR  ALL.'' 

IT  IS  OBVIOUS  THAT  MUCH  OF  THE  REPELLENT  IN  APPRO- 
PRIATENESS OF  MEMORIAL  ART  AND  ARCHITECTURE 
WOULD  BE  AVOIDED  BY  COMMITTING  THE  WORK  TO  ^ 
ARTISTIC  HANDS.  HOW  MUCH  THERE  IS  THAT  IS  SIMPLY 
VULGAR ;  HOW  MUCH  THAT  IS  COMMOMPLACE ;  HOW  MUCH 
THAT  IS  GROTESQUE  AND  BIZARRE!  AND  THIS  IN  "THE 
SACRED  SUBURB  OF  THE  HEAVENLY  CITY,'"  WTIERE  ALL 
SHOULD  BE  DIGNIFIED  AND  REVERENT.  NO  NOVICE  CAN 
HOPE  TO  ACCOMPLISH  THE  DESIRED  END.  THERE  MUST 
BE  HARMONY  OF  MATERIAL  AND  DESIGN.  THE  SHAFT 
MUST  HAVE  PROPORTION;  THE  MAUSOLEUM,  SYMMETRY, 
STRENGTH  AND  BEAUTY  MUST  COMBINE  AS  IN  SOLO- 
MON'S TEMPLE:  "HE  SETS  UP  THE  PILLARS  IN  THE  PORCH 
OF  THE  TEMPLE;  AND  UPON  THE  TOP  OF  THE  PILLARS 
WAS  LILY  WORK." 

THE  COMMERCIAL  CONSIDERATION  IS  TOO  FREQUENTLY 
PUSHED  TO  THE  FRONT.  WEALTH  ALONE  IS  NOT  COMPE- 
TENT IN  THESE  PREMISES.  IT  IS  NOT  A  MERE  MATTER 
OF  DOLLARS  AND  CENTS.  A  MODEST  SLAB  MAY  BE  AS 
REALLY  A  MASTERPIECE  IN  ITS  PLACE  AS  THE  MOST 
IMPOSING  CENOTAPH;  BUT  IT  REQUIRES  MORE  THAN  A 
STONECUTTER  TO  MAKE  IT  SO.  HERE,  SURELY,  IS  A 
CALL  FOR  BEZALEEL,  THE  MASTER,  AND  HIS  SKILLED 
SUBORDINATES. 

THERE  IS  CAUSE  FOR  CONGRATULATION  IN  THE  IM- 
PROVEMENT OF  OUR  CEMETERIES  IN  RECENT  YEARS 


NO  LONGER  ARE  ALL  THEIR  GATEWAYS  OPEN  TO  BOLD 
CARICATURES.  THE  TIME  IS  COMING  WHEN  GOD'S  ACRE 
WILL  BE  THE  FAIREST  SPOT  OF  EARTH.  MOULD  AND 
MELANCHOLY  WILL  GIVE  WAY  TO  THE  COMFORTING  AND 
UPLIFTING  SYMBOLS  OF  MEMORY  AND  TRIUMPHANT 
FAITH.  THE  PASSERBY  WILL  BE  MOVED  TO  LOOK  AWAY 
FROM  THE  DARKNESS  OF  THE  OPEN  GRAVE  TO  THE 
GLORY  OF  THE  OPEN  HEAVENS.  THE  VOICELESS  MARBLE 
OF  GOD  S  ACRE  WILL  RESPOND  TO  THE  VOICES  OF  THE 
BELOVED  DEAD,  CALLING  US  TO  MEET  THEM  IN  THE 
CITY  THAT  HATH  FOUNDATIONS  WHOSE  BUILDER  AND 
MAKER  IS  GOD. 

THERE  IS  NO  FORM  OF  MORTUARY  MONUMENT, 
FROM  A  HEADSTONE  OF  THE  SIMPLEST  DESIGN, 
TO  THE  MOST  ELABORATE  CENOTAPH  (OR  MAU- 
SOLEUM) WITH  BRONZE  SARCOPHAGI,  THAT  DOES 
NOT  COME  WITHIN  THE  PROVINCE  OF  THE  EC- 
CLESIASTICAL DEPARTMENT  OF  THE  TIFFANY 
STUDIOS. 

OUR  DESIGNS  OF  OUTDOOR  MEMORIALS  ARE  AS 
INDIVIDUAL  AS  THEY  ARE  ARTISTIC,  AND  OUR 
SELECTION  OF  STONE  IS  AS  APPROPRIATE  AS  THE 
MATERIAL  IS  DURABLE.  THE  EXECUTION  OF  OUR 
DESIGNS  AND  THE  ERECTION  OF  THE  FINISHED 
PRODUCTS  RECEIVE  NAUGHT  BUT  THE  MOST 
FAVORABLE  CRITICISM  FROM  BOTH  CLIENTS 
AND  CEMETERY  OFFICIALS  WHOSE  WELCOME 
OF  OUR  MONUMENTS  IS  EVIDENCED  BY  THE 
HEARTY  COOPERATION  ACCORDED  US. 


The  tablet  monument  illustrated  on  the  opposite 
page  was  executed  in  granite  from  the  Quarries  of 
Louis  C.  Tiffany  and  erected  in  Woodlawn 
Cemetery.  New  York  City,  as  the  Penfold  Memorial. 


h 
z 
ill 
z 

D 
Z 
0 

I- 
y 
-I 
m 
< 

>- 
z 
< 
ii. 

Ll 
< 


TIFFANY  GRANITE 

THERE  ARE  MANY  KINDS  OF  STONE  THAT 
ARE  DURABLE  AND  APPROPRIATE  FOR  OUT- 
DOOR MEMORIALS.  PERFiAPS  THE  MOST 
DURABLE  AND  MOST  ADAPTABLE  FOR  PRACTI- 
CALLY ALL  SETTINGS,  WHEN  PROPERLY  DE- 
SIGNED, CARVED  AND  ERECTED,  IS  GRANITE. 
BUT  THERE  ARE  MANY  VARIETIES  OF  GRANITE. 
TIFFANY  GRANITE  COMES  FROM  THE  QUARRIES 
OF  LOUIS  C.  TIFFANY  AT  COHASSET,  MASS.  SOME 
IDEA  OF  ITS  PROPERTIES  MAY  BE  GLEANED 
FROM  THE  FOLLOWING  REPORTS  FROM  EXPERT 
MINERALOGISTS: 

H.  W.  HAYWARD 

MASSACHUSETTS  INSTI TUTE  OF  TECHNOLOGY 

REPORT  ON  TESTS  MADE  UPON  TIFFANY  GRANITE  FOR 
EDWIN  STANTON  GEORGE: 

DATE  TESTED,  AUGUST  29,  1912.  SPECIMEN:  ONE  CUBE 
SAID  TO  BE  TIFFANY  GRANITE.  DIMENSIONS  OF  CUBE, 
2.06  X  2.06  X  2.06  INCHES.  MAXIMUM  COMPRESSIVE  LOAD, 
110,400  POUNDS.  EQUAL  TO  26,037  POUNDS  PER  SQUARE 
INCH. 

SPECIMEN  WAS  BEDDED  IN  NEAT  CEMENT  WHICH  IN- 
SURED  AN  EVEN  BEARING  AGAINST  HEADS  OF  TESTING 
MACHINES.  SPECIMEN  BROKE  EXPLOSIVELY  AT  MAXI- 
MUM LOAD,  CHIPPING  OFF  VERY  SLIGHTLY  BEFORE  THIS 
LOAD.  RESPECTFULLY  SUBMITTED, 

(SIGNED)  H.  W.  HAYWARD 

THE  OTHER  CUBE  OF  THE  TWO  SUBMITTED  WAS 
LEFT  IN  THE  OFFICE  OF  PROFESSOR  WARREN. 


CHARLES  H.  WARREN 

BOSTON  MASS. 

REPORT  ON  THE  GRANITE  FROM  THE  TIFFANY  QUARRIES, 
COHASSET,  MASS.: 

THE  ROCK*  FROM  THE  TIFFANY  QUARRIES  AT  COHASSET, 
MASS.,  IS  A  GRANITE  OF  MEDIUM  TO  COARSE  GRAIN,  OF 
LIGHT  COLOR  WITH  A  PREVAILING  PINKISH  TONE.  THE 
MINERALS  PRESENT  ARE;  QUARTZ,  GRAY  TO  SMOKY: 
POTASH  FELDSPAR,  GENERALLY  OF  A  PALE  PINK  OR 
FLESH  COLOR;  A  SODA-LIME  FELDSPAR,  IN  PART  WHITE 
OR  CREAM  COLORED,  IN  PART  A  PALE  YELLOWISH-GREEN: 
CHLORITE  WITH  EPIDOTE  FORMING  SMALL  BLACK  OR 
DARK  GREEN  SPECKS  SCATTERED  RATHER  PLENTIFULLY 
AMONG  THE  OTHER  MINERAL  GRAINS.  WITH  THE  EXCEP- 
TION OF  THE  BLACK  MINERAL,  WHICH  FORMS  SMALLER 
GRAINS,  THE  OTHER  CONSTITUENTS  HAVE  A  RATHER 
EQUAL  DEVELOPMENT  AS  TO  SIZE,  ALTHOUGH  IT  CAN  BE 
SEEN  THAT  SOME  OF  THE  GRAINS  HAVE  ATTAINED  A 
LARGER  SIZE  THAN  THE  REMAINDER.  THIS  HAS  THE 
EFFECT  OF  BREAKING  UP  THE  MONOTONY  OF  A  PER- 
FECTLY EVEN-GRAINED  TEXTURE  AND  PRODUCING  A 
CHARACTERISTIC  AND  PLEASING  APPEARANCE.  THIS  IS 
MUCH  ENHANCED  BY  THE  VARIATION  IN  COLOR,  THE 
GRAY  OF  THE  QUARTZ.  PINK,  WHITE,  YELLOWISH-GREEN 
OF  THE  FELDSPAR  AND  BLACK  OF  THE  CHLORITE,  AF- 
FORDING A  DELICATE  MOTTLING  WHICH  IS  NOT  ONLY 
VERY  PLEASING  BUT  DIFFERENT  FROM  THE  USUAL  RUN 
OF  GRANITES.  THESE  EFFECTS  ARE  WELL  BROUGHT  OUT 
ON  THE  ROUGH-FINISHED,  AND  PARTICULARLY  SO  ON 
POLISHED  SURFACES. 


*THE  FOLLOWING  STATEMENTS  ARE  BASED  ON  AN  EXAMINATION  OF  A 
NUMBER  OF  SPECIMENS  SUBMITTED  TO  ME  BY  MR.  EDWIN  STANTON 
GEORGE,  OF  NEW  YORK. 


The  Tiffany  Monolith,  illustrated  on  the  opposite 
page,  was  executed  in  Granite  and  erected  in  Arling- 
ton National  Cemetry,  Virginia,  in  memory  of 
Thomas  Mayhew  Woodruff. 


A  TIFFANY  MONOLITH 


A  CAREFUL  MICROSCOPIC  STUDY  OF  THE  POLISHED  SUR- 
FACE SHOWS  THAT  THE  POLISH  TAKEN  BY  THE  ROCK  IS 
OF  A  HIGH  CHARACTER  STRICTLY  COMPARABLE  TO  THAT 
TAKEN  BY  SUCH  WELL-KNOWN  MONUMENTAL  STONES 
AS  THE  DARK  QUINCY  GRANITE. 

MICROSCOPIC  STUDY  OF  THE  SPECIMENS  AND  OF  THIN 
SECTIONS  CUT  FROM  THEM  SHOWS  THE  ROCK  TO  BE 
AGREEABLYFREEFROM  THE  DELETERIOUS  CONSTITUENT 
PYRITE  (DI-SULPHIDE  OF  IRON).  IN  FACT,  ONLY  TWO 
MINUTE  GRAINS  OF  PYRITE  WERE  OBSERVED  IN  ALL  OF 
THE  SEVERAL  SPECIMENS  EXAMINED,  WHICH  IS  MORE 
THAN  CAN  BE  SAID  OF  MANY  FIRST-CLASS  GRANITES.  IT 
WAS  THEREFORE  DEEMED  QUITE  UNNECESSARY  TO  MAKE 
CHEMICAL  DETERMINATION  OF  SULPHUR  IN  THE  ROCK, 
FOR  IT  COULD  HARDLY  AMOUNT  TO  MUCH  MORE  THAN 
A  TRACE. 

THE  MICROSCOPE  SHOWS  THAT  THE  MINERALS  AS  ORIGI- 
NALLY FORMED,  WITH  THE  EXCEPTION  OF  THE  QUARTZ, 
HAVE  UNDERGONE  SOME  ALTERATION.  THUS  THE  CHLO- 
RITE IS  A  SECONDARY  MINERAL  DEVELOPED  FROM  A 
BLACK  MICA  (BIOLITE),  WHICH  WAS  THE  ORIGINAL  DARK 
MINERAL  OF  THE  GRANITE.  WITH  THE  CHLORITE  IS  A 
LITTLE  EPIDOTE  AND  OXIDE  OF  IRON.  A  PART  OF  THE 
SODA-LIME  FELDSPARS  CONTAIN  MANY  SMALL  CRYSTALS 
OF  EPIEX)TE,  TO  THE  PRESENCE  OF  WHICH  IS  DUE  THE 
YELLOWISH-GREEN  COLOR,  ABOVE  ALLUDED  TO.  SOME 
WHITE  MICA,  KAOLIN,  CALCIUM  CARBONATE  AND  IRON 
OXIDE  IN  MINUTE  PARTICLES,  TOO  SMALL  TO  BE  VISIBLE 
EXCEPT  WITH  STRONG  MAGNIFICATIONS,  ARE  ALSO 
PRESENT  IN  THE  FELDSPAR.  THE  CHLORITE.  EPIDOTE 
AND  MICA  AND  PART  AT  LEAST  OF  THE  IRON  OXIDE  ARE 
PRODUCTS  OF  DEEP-SEATED  CHANGES,  WHICH  HAVE 


TAKEN  PLACE  IN  A  GEOLOGICALLY  OLD  ROCK  AND  ARE 
NOT  PRODUCTS  OF  MERE  SUPERFICIAL  ALTERATION. 
THESE  SECONDARY  PRODUCTS  WILL  NOT  AFFECT  THE 
STRENGTH  OR  DURABILITY  OF  THE  STONE  TO  AN  APPRE- 
CIABLE EXTENT.  IN  FACT,  THE  EPIDOTE,  CHLORITE  AND 
WHITE  MICA  ARE  AS  DURABLE  AS  THE  ORIGINAL  ONES, 
PERHAPS  MORE  SO. 

IN  ORDER  TO  ASCERTAIN  WHAT  PORTION  OF  THE  ROCK 
WAS  IN  A  SOLUBLE  CONDITION.  I  SUBJECTED  SOME  OF 
THE  FINELY  CRUSHED  STONE  TO  A  PROLONGED  ACTION 
OF  A  ONE  PER  CENT.  SOLUTION  OF  A  SULPHURIC  ACID. 
AND  EXTRACTED  0.75%  OF  OXIDE  OF  IRON  AND  0.15% 
OXIDE  OF  LIME.  THE  FORMER  CAME  FROM  THE  PAR- 
TICLES OF  OXIDE  OF  IRON  AND  THE  LATTER  FROM  CAR- 
BONATE OF  LIME,  AND  INDICATES  THAT  0.27%  OF  THIS 
LATTER  CONSTITUENT  IS  PRESENT.  THESE  FIGURES  REP- 
RESENT VERY  CLOSELY  THE  AMOUNT  OF  THE  SAME 
CONSTITUENTS  WHICH  CAN  BE  EXTRACTED  FROM  SEV- 
ERAL OTHER  GRANITES:  THAT  OF  QUINCY.  MASS.,  FOR 
EXAMPLE.  THE  TEST  IS  A  SEVERE  ONE  AND  FAR  EXCEEDS 
IN  THIS  RESPECT  ANY  NATURAL  SOLVENT  ACTION  TO 
WHICH  THE  STONE  WOULD  BE  SUBJECTED  IN  ITS  USE  AS 
A  BUILDING  OR  ORNAMENTAL  STONE. 

ABSORPTION  TESTS  MADE  ON  FINISHED  CUBES  OF  THE 
GRANITE  SHOWED  A  MAXIMUM  ABSORPTION  OF  0.12% 
BY  WEIGHT  OF  WATER:  OR,  PUT  ANOTHER  WAY,  ABOUT 
18  MILLIGRAMS  PER  SQUARE  INCH  OF  SURFACE  TESTED. 
THIS  IS  A  NORMAL  FIGURE  FOR  ROCKS  OF  THIS  TYPE. 

THE  DENSITY  OF  THE  ROCK  WAS  FOUND  TO  BE  2.72  COM- 
PARED WITH  WATER  AT  4°  CENTIGRADE  OR  ABOUT  2.66 
AT  ROOM  TEMPERATURE. 


The  Tiffany  Ledger  Stone,  illustrated  on  the  opp<y- 
site  page,  was  made  of  Granite  and  placed  in  Wood- 
lawn  Cemetery,  New  York  City,  in  memory  of 
Charles  T.  Cook. 


A  MONOLITH  OF  TIFFANY  GRANITE 


UNDER  THE  ACTION  OF  HEAT  THE  ROCK  BEHAVES  WELL. 
THERE  ARE  NO  EXPLOSIVE  EFFECTS. 

THE  FACTS  ABOVE  SET  FORTH  INDICATE  THAT  THIS 
GRANITE  SHOULD  WITHSTAND  THE  USUAL  PROCESSES 
OF  WEATHERING  AND  CORROSION  TO  WHICH  IT  WILL 
BE  EXPOSED  IN  USE  IN  AN  ENTIRELY  SATISFACTORY 
MANNER.  ITS  STRUCTURE,  DENSITY  AND  LOW  POROSITY 
INSURE  HIGH  STRENGTH.  I  SHOULD  EXPECT  ITS  CRUSH- 
ING STRENGTH,  WHICH  I  UNDERSTAND  YOU  ARE  HAVING 
TESTED,  WOULD  BE  VERY  CLOSE  TO  THAT  OF  THE  QUINCY 
OR  ROCKPORT  GRANITES,  NAMELY,  SOMEWHAT  ABOVE 
20.000  POUNDS  PER  SQUARE  INCH,  A  GOOD  AVERAGE 
VALUE. 

TOE  TEXTURE,  OR  PATTERN,  AND  THE  COLOR  SCHEME 
5f  THE  GRANITE  ARE  BOTO  CHARACTERISTIC  AND  PLEAS- 
ING TO  A  HIGH  DEGREE  AND,  TAKEN  TOGETHER  WITO 
ITS  DURABILITY  AND  STRENGTO,  MAKE  IT,  IN  MY 
OPINION,  A  STONE  TO  BE  HEARTILY  RECOMMENDED  FOR 
CHURCHYARD  MEMORIALS  OR  MONUMENTAL  WORK 
WHERE  A  RATOER  COARSELY  HAMMERED  SURFACE  IS 
OFTEN  DESIRED.  IT  SHOULD  ALSO,  IN  MY  OPINION, 
PROVE  PARTICULARLY  SATISFACTORY  IN  ANY  WORK 
WHERE  POLISHED  SURFACES  ARE  TO  BE  USED. 

(SIGNED)  CHARLES  H.  WARREN. 

OCTOBER  24,  1912. 

IT  IS  BUT  FAIR  TO  STATE  THAT  BEFORE  THE 
PURCHASE  OF  THE  TIFFANY  QUARRIES,  NUMER- 
OUS OTHER  PROPERTIES  WERE  INVESTIGATED 
AND  THEIR  ROCK  THOROUGHLY  TESTED,  THE 
PURPOSE  BEING  TO  OBTAIN  QUARRIES  THAT 


The  Monolith  illustrated  on  the  opposite  page  was 
executed  in  granite  from  the  Quarries  of  Louis  C. 
Tiffany  and  erected  in  Greenwood  Cemetery, 
Brooklyn,  N.  Y. 


WOULD  YIELD  GRANITE  WITH  CERTAIN  DESIRED 
CONSTITUENTS  AS  TO  DURABILITY  AND  COLOR 
THAT  WOULD  GIVE  IT  ADDED  DISTINCTION 
AFTER  ITS  EXCLUSIVE  INDIVIDUAL  TREATMENT 
BY  THE  TIFFANY  STUDIOS. 

THIS  MATERIAL  IS  TO  BE  RESTRICTED  TO  THE 
EXCLUSIVE  USE  OF  THE  TIFFANY  STUDIOS. 


The  Tiffany  Sarcophagus,  illustrated  on  the  oppo- 
site page,  was  executed  in  Granite  in  memory  of 
Charles  Hamilton  Paine  and  placed  in  Forest  Hills 
Cemetery,  Boston,  Mass. 


The  Mausoleum  reproduced  on  the  opposite  page^ 
from  a  sketch,  was  designed  for  Mr.  Chester  W. 
Chapin  for  construction  in  Tiffany  Granite  and 
erection  in  the  Springfield  Cemetery,  Springfield^ 
Mass. 


ONE  OF  TflE  MODELS  FROM  WHICH  A 
TXFFANV  MEMORIAL  HAS  BEEN  MADE 


j^j'.fnji'jri'  mil 


'  /  uni]'  )-|!n<.i!i:.r>|) 

fi/r-.r-.Y  f/J'jyri:  KW-^^i; 

:fr.!ii?i..M/-.i;K/.y',r.r. 

rir^^rnr-  /',./'>:'ai.ri.i/-.ii  ;■■ 
m/frr-h  r'Hii,iji'/'/j',/.rrifi 

Lr^V/'lb  :,.I!EH.'0|i 

i7-rr--M,o'"r.!): 
^.iv-Mxr./'./..F/ii)r'Arr>rr 


||;AI.M<  I'AIMil 

I  HI:  l'AI',l>l  I 
V/Al  jEK  l!.i  n)/'>AI' 
irilJI.'.  /.,IK.l),V|l).',  \-rA\f,(.V. 
V/IIIIAr  /'.I'M'/rLL,.!!-, 
|;M;|f  T  Fi:i':>IIA.W 
Ainillir:  fj.I'M.I  I  IM' 
I'Ohnn  f-.t)|--|  (rr/iti 

rriADK  t ■..'./•/'.() I K. 
nr.Mr-YM..'>''.nAuj; 

rrAMK  .'X-MI  IIHA/A/Ai  r 

j)Mjr:.'.)..'-/jii)n/ii' 
y  V7ii.i.i/-/'^  M,.',r.iiiirr?rR 
r-AY/'iOiu;  v/.MirrT^r 

I  Dv/Ar-n  i-..'"7[>n' 

'  V'AITf.ino.Mi 

r/f'i.r  D.v/.p  r^opri' 
nrMHY  v'Air^f'.jr'. 
tM'^j/u,.',  f:!  Aii'r  v//.iJ'[  r- 
^'Ol:r.r'TI;T'U^r\"All./•^^..l^•. 
.)A/Ar.Mi^^l  /'7'ti  vri!- 

v/iii.1/  /',  r  n  v/rm-'ri' 

r;,»"r.l.l.l|i''/iM'  '"llLI..)f-. 

wii|ii.v/||iriM.fr"iiii/-/',r> 
.  ].\}"\r.  r,rii;r;iM-  v/iiii/.|'r. 
iwrjiri-s.  l  or/fi:f-  '"iii  iA/'r. 
r,r^r-r,!  v/.  /i  i.i.i  i- 


rf-ir.  GKFf^TiAl'  r/Tnomr,  orrnoir  v/i^r,  v/rp'i  roi-Tii 
ffcf' TH'i'  cGf'orrc/Tr^i'  rr-'.oi.vr.r/T''/  i-r-r.'-i  r-  /r 


A  TIFFANY  BRONZE  TABLET 


The  memorial  tablet  shown  on  the  opposite  page 
was  executed  in  bronze  and  placed  in  the  First 
Presbyterian,  Church,  Hazleton,  Pa. 


SOME  OF  THE  PRODUCTS  EXECUTED  IN  GLASS 
AND  STONE  BY  THE  ECCLESIASTICAL  DEPART- 
MENT OF  THE  TIFFANY  STUDIOS: 

FIGURE  WINDOWS 
MOSAIC  WINDOWS 
MEDALLION  WINDOWS 
LANDSCAPE  WINDOWS 

GLASS  MOSAIC  TABLETS 
MARBLE  AND  MOSAIC  TABLETS 
MARBLE  AND  BRONZE  TABLETS 
CAST  BRONZE  TABLETS 

FIGURE  MOSAICS 
DECORATIVE  MOSAICS 
ORNAMENTAL  MOSAICS 
ARCHITECTURAL  MOSAICS 

MARBLE  AND  MOSAIC  ALTARS 
MARBLE  AND  MOSAIC  FONTS 
MARBLE  AND  MOSAIC  LECTERNS 
MARBLE  AND  MOSAIC  BAPTISTRIES 

MAUSOLEUMS 
TABLET  MONUMENTS 
CELTIC  CROSSES 
TABLE  MONUMENTS 

LEDGER  STONES 
SARCOPHAGI 
HEADSTONES 
CINERARY  URNS 


ECCLESIASTICAL  DEPARTMENT 

TIFFANY^  STVDIOS 
46  WEST  TWENTY^THIRD  STREET 
NEW  YORK 

LOUIS  C.  TIFFANY,  Art  Director 
EDWIN  STANTON  GEORGE.  Manager 


A  TIFFANY  CAST    BRONZE  TABLET 


Thomsen-Ellis  Company 
baltimore  : :  new  york 


GETTY  RESEARCH  INSTITUTE 


3  3125  01450  7590 


